People don't come to see me; they come for strong stories: Priyadarshi
Speaking about Sarangapani Jatakam, he shared that the story came to him last year and was initially set for a year-end release, but strategic decisions led to its April launch. He expressed excitement, saying, 'I'm happy to follow up Court with this film. There's no pressure, just confidence.'
While the movie's plot revolves around horoscopes, Priyadarshi confessed he believes in them only 'to some extent.' Reflecting on the theme, he said, 'We're not asking people to believe or disbelieve in astrology. We're simply exploring what happens when beliefs are forced upon others.'
He noted that Sarangapani Jatakam, like his earlier films Mallesham, Balagam, and Court, features a relatable protagonist. 'I prefer emotional stories rooted in real lives. These characters connect with the audience on a deeper level,' he explained.
Interestingly, the film marks a departure in terms of dialect too. 'I usually speak in the Telangana dialect, but here, I've adopted the Andhra accent under Indraganti sir's guidance. It gave the character a new rhythm,' he revealed.
He emphasized that today's audience values content above all. 'People don't come to see me—they come for strong stories. Films work only when they're rooted in meaning,' he said. And when a film flops? 'I definitely introspect and learn from it,' he admitted.
Despite emerging as a content-driven actor, he's open to the idea of commercial cinema. 'If a director like Srikanth Odela calls me, I'll pick up a sword! I'd love to explore all kinds of roles.'
He also expressed gratitude toward producer Sivalenka Krishna Prasad and his dream-come-true moment of working with Indraganti. The actor revealed upcoming projects including Premante under Asian Cinemas and Mitramandali under Geetha Arts.
With Sarangapani Jatakam releasing soon, he concluded, 'We're planning premieres and early shows. If people like what they see, I'm sure they'll show up in theatres. Our film will leave you laughing and thinking.'
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
The Hindu
4 days ago
- The Hindu
Awards galore for Telugu artistes in 71st national film awards
After Allu Arjun's Best Actor win last year, the Telugu film industry proved its mettle yet again, winning several national awards, including the best lyricist, best male playback singer and best child artiste among others at the 71st National Film awards. The awards were announced in New Delhi on Friday. One of the most emotionally resonant wins came for Balagam, the critically acclaimed film that deeply touched the people of Telangana. The song 'Ooru Palletooru', penned by Kasarla Shyam, won the award for Best Lyricist for the song that captured the heart and soul of rural life and evoking nostalgia among those connected to their native roots. Another standout was the youthful romantic drama Baby, which earned multiple awards. P.V.N.S. Rohit, whose rendition of the soulful track 'Premisthunna', which became a hit among the younger generation, won the Best Male Playback Singer award. The film also shared the Best Screenplay award with Tamil film Parking. Mythological superhero film HanuMan, directed by Prasanth Varma, bagged two honours — Best Action Choreography and Best Feature Film in the AVGC (Animation, Visual Effects, Gaming, and Comics) category. The film's technical brilliance and visual storytelling were widely appreciated, and was one of the runaway hits. Sukriti Veni Bandreddi won the Best Child Artist award for her performance in Gandhi Tatha Chettu. Balakrishna-starrer Bhagavanth Kesari bagged the best film award in the Best Regional Film (Telugu) category. It was directed by Anil Ravipudi. R&B and Cinematography Minister Komatireddy Venkat Reddy congratulated the winners and said they made the industry proud. He said the government was committed to film industry promotion and the revival of film awards by the Telangana government after 10 years indicated its commitment. BRS working president K. T. Rama Rao also congratulated the winners, particularly the Balagam team, and reminded them of how Telangana films gained mainstream recognition due to the creation of a separate Telangana State.
Hans India
4 days ago
- Hans India
Beyond the Blockbusters: Five Indian Films More People Should See
Some films cross borders the way mist drifts over the Ganges at dawn — soft, slow, and almost invisible until you notice the chill on your skin. They don't fight for your attention. They wait, sure-footed, telling their stories frame by frame, patient as the river. Indian cinema isn't just glossy musicals and box-office thunder; it's also bruised knuckles, small rebellions, and laughter cut with ache. A selection as spicy as its signature dishes. But most nights, we keep scrolling. Headlines bark about global hits. Trailers roll by. And those quieter films sit in the shadows of streaming menus — waiting. It's fitting, in a way, that we miss them while checking messages, tracking scores, or half-watching the flicker of online baccarat in another tab. Yet beyond the neon and noise, these films hold stories stitched from sweat, stubborn hope, and a refusal to look away. Court (2014): A Silence Louder Than Verdicts Some stories don't shout. Court doesn't bother with grand speeches or last-minute evidence that saves the day. Instead, it shows hearings postponed, lawyers drained by routine, and a system that grinds on, patient as stone. The accused, a folk singer charged under anti-terror laws, barely seems the centre of the film. The real subject is the machinery itself — how slow it turns, and how power lies in its slowness. The genius here is in the dust on the windowsill, the broken fan spinning overhead, the judge's sigh at yet another adjournment. It leaves you uneasy, because the system isn't failing; it's working exactly as built. When the credits roll, there's no triumph — just the quiet realisation you've seen something true. Udaan (2010): Escape Written in Small Letters Udaan is rebellion without fireworks. A teenage boy thrown out of boarding school returns to an industrial town and a father forged in iron and anger. The boy writes poetry; the father wants him to work steel. Between them hangs every unsaid insult, every rule meant to be broken. What makes Udaan sing isn't plot — it's how it lingers on brick walls at dawn, empty classrooms steeped in regret, and the raw courage it takes to choose your own path. It understands that rebellion isn't always loud; sometimes it's packing a bag in silence and walking toward what scares you most. And somewhere in those grey alleys, it finds hope. The Lunchbox (2013): Love Served Cold and Honest A misdelivered lunchbox in Mumbai. Notes passed between strangers. That's all it takes. The Lunchbox never raises its voice. Instead, it lets love grow quietly between the clink of cutlery and the hiss of city trains. Every curry leaf, every steam curl feels like part of a shared ritual. It's the sort of film that makes you think of small, unexpected moments: a forgotten letter, a late-night message from someone you thought was gone, or an idle chat while half-watching online baccarat. Fragile connections. Easily missed, but impossible to forget once made. Ship of Theseus (2013): Questions That Refuse Answers If every plank of a ship is replaced, is it still the same ship? Ship of Theseus takes this question and turns it into cinema. Three stories: a blind photographer who regains sight, a monk fighting for animal rights, and a stockbroker chasing stolen organs. Each tale asks what makes us who we are. It doesn't offer clean answers. And that's the point. Some scenes drift close to abstraction; others hit with intimate force. But it stays with you, unsettling and oddly comforting at once. In a world trained to pounce on rumors and quick takes, Ship of Theseus offers the rare pleasure of not knowing — and realising that might be enough. Masaan (2015): Ashes, Shame, and Small Beginnings Masaan is set on the ghats of Varanasi, where the living brush against death every day. Two threads: a girl fighting the weight of scandal and a boy who falls in love across caste lines. Tragedy comes early, but the film isn't really about grief. It's about what comes after. There's a tenderness here, even in scenes filled with ash and funeral smoke. The Ganges carries away more than bodies; it carries guilt, secrets, and sometimes a chance to begin again. By the final shot, you see not endings but quiet, stubborn rebirth. Why These Stories Matter They don't chase applause. They trade spectacle for scars, explosions for silences that say more. They pull back the curtain on places tourists don't see: cramped courtrooms, small-town bedrooms, railway canteens at dawn. And they ask us to look — not as critics, but as witnesses. In a feed packed with trailers, memes, and hot takes, these films offer a different kind of entertainment — one that sits with you long after the screen goes black. They're reminders that cinema can do more than distract; it can reveal, question, and sometimes, quietly heal.
Hans India
4 days ago
- Hans India
Hyderabad: Ravi Teja's ART Cinemas Opens in Vanasthalipuram with EPIQ Screen
Ravi Teja and Asian Cinemas have opened a new movie theatre called ART Cinemas in Vanasthalipuram, Hyderabad. It brings a better movie-watching experience to people in this area. The first movie released at this cinema is Kingdom. Early feedback from viewers is good, and many are excited to watch movies here. ART Cinemas has advanced features like a 57-foot wide EPIQ screen, Dolby Atmos sound system, and 4K video quality. These features give a high-quality cinema feel. The theatre is located on the fourth floor of Tattva Mall in Vanasthalipuram, Saheb Nagar Khurd, Hyderabad. The starting ticket price is 295 rupees.
